The Layers of Color series, begun in 2015, pursues paintings that are purely visual phenomena, where the figurative motifs are freed from their structure. This work is the second in 2022 and the 54th in the series as a whole. The basic method of this series is to start from a place with no clear theme, message, motif, or plan, and then determine what is considered to be the finished painting (including its orientation) by layering and grinding acrylic paints. While taking advantage of the interesting details that are created by accident, the artist leads the viewer to a single image as a purely visual phenomenon on canvas. This work is thumbhole-sized, the smallest in this series. However, each work in this series stands alone with its own unique vision, regardless of size. Both this "2202" and "2203," created at the same time, are proposed as one complete painting work. The canvas is pre-papered with careful ground coats on both the front and back sides, and then stretched once over a temporary board. More than 20 layers of paint, including partial and solid, are applied to the screen side as a depiction. Then, the screen is built up by grinding with water-resistant sandpaper while applying water. The work is done on a temporary board, and after completion, it is cleaned and dried before being stretched on a wooden frame. Since the screen is ground out, it is smooth and can be wiped clean with a dish towel. One of the characteristics of a painting is to make full use of its "multi-layered magic. I found a way to do this in 1999, in line with my desire since the time I started to create. Since then, I have been pursuing the possibilities of painting with a consistent technique and matiere of "layering and grinding acrylic paints.
